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26 Cards in this Set
- Front
- Back
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Game and Play
1700-1800 Definition |
"-Coordination
and Motor Skills -Group Coordination -Foster Creativity -Oral-Done Performance" |
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"Game and Play
1700-1800 Context And History" |
"-Children by Mothers
-Cultural African and European -3 ways they modified European songs --change melody --change rhythm --added and changed words and added movements " |
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"Game and Play
1700-1800 Features And Styles " |
"-Incorporated complex movements
w/ hand and foot" |
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"Game and Play
1700-1800 Lyrics " |
"-Game itself
-From folk tales and fantasy stories told by parents -Interpretation of daily observations " |
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"Game and Play
1700-1800 Performers " |
-Besse Jones
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"Game and Play
1700-1800 Songs " |
"-Mama Lama
" |
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"Work and Calls
1700-1800 Definition" |
"-Group and
Individual -Meant to lift spirits And offer encouragement -Critique their situation or Their oppressor. " |
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"Work and Calls
1700-1800 Context And History " |
"-Long Hours in the fields
-Railroads(Leader Crew) -Street Vendors " |
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"Work and Calls
1700-1800 Features And Styles" |
"-Call and Response
-Repetitive reframes and Chorus -Heterophony (subtle difference in melodies In the hymns And variations in it) (compared to Europeans that Had one melody and one Tone) " |
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"Work and Calls
1700-1800 Lyrics " |
"-Describe work
-Personal Experiences " |
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"Work and Calls
1700-1800 Performers " |
"-Leadbelly
-Odetta -Bernice Johnson " |
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Syncopated Dance Music
1700-1800 Definition |
-Cross rhythms that classed with the pulse patters.
-Melodies moved freely against the fixed rhythms of the pulse -Shifting of melodic accents from strong to weaker beats |
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Syncopated Dance Music
1700-1800 Context And History |
-Started in Africa
-Basic pulse was supplied by drums and other percussion instruments -Seldom written in musical notation-too difficult to write |
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Syncopated Dance Music
1700-1800 Features And Styles |
-Basic pulse of music supplied by clapping and stamping
-drums prohibited -Polyrhythms or multimeters |
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Syncopated Dance Music
1700-1800 Songs |
A
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Syncopated Dance Music
1700-1800 Performers |
A
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Syncopated Dance Music
1700-1800 Lyrics |
A
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Folk Spirituals
1700-1865 Definition |
-Hymn
-Wandering Refrain -Adding choruses of their own composing to orthodox church songs |
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Folk Spirituals
1700-1865 Context And History |
-1st black methodists of philadelphia adding choruses and refrains of their own composing to the standard protestant hymns
-Public Places -Camp Meetings -AME church -"invisible churches" -Bush meetings -conflict over whether spirituals should be sung, white church supervisers opposed african americans singing their own spirituals -Underground railroad |
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Folk Spirituals
1700-1865 Features And Styles |
-Worship service
-"jes' sittin' around -to accompany the shout --ring spirituals --running spirituals --shout spirituals -funeral hymns |
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Folk Spirituals
1700-1865 Lyrics |
-Old testament
-Worship service -"jes' sittin' around -to accompany the shout --ring spirituals --running spirituals --shout spirituals -funeral hymns |
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Folk Spirituals
1700-1865 Performers |
Writers included Richard Allen and many came from unknown origins.
Performed by congregation and church choirs, etc. |
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Folk Spirituals
1700-1865 Songs |
-Oh, We'll walk Around the Fountain
-I Know, Member, Know Lord -The Bells Done Ring -Pray All the Members -Go Ring That Bell -I Can't Stay Behind |
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I. Melody and Scales
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a. Plaintive, Mournful, Wild
b. Major and pentatonic scales w/ some tones flatted or 'bent" to lower pitch c. Usually seventh tone in a scale flattened d. Extant collections are only approximation of slave music e. Melodies using only 1, 2, or 3 tones i. None of the tones preserved ii. Labeled as african and correlated to various rituals |
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II. Rhythmic Features
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a. Striking feature of all african-derived music
b. Difficult to indicate in conventional notation c. Except for field hollers, most slave songs prefered simple duple meters d. Hand clapping and foot stomping sustained steady beats of a song's meter i. Use of drums prohibited e. Syncopation f. Cross Rhythms against basic pulse g. Polyrythms and multimeter |
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III. Musical Texture
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a. Testimony says monophonic
b. Evidence points to homophonic i. Difficulty in transferring to conventional music notation. c. Lead singer always began the song d. Others joined on refrains or sometimes even verses e. Lead singer improvised new words for verses f. Basers came in on chorus. g. Overlapping call-and-response patters h. Not sung in unison |
